Category: Music

‘I’m not ready to give up’: Catching up With Christina Martin

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Christina Martin is an award-winning singer-songwriter based in Port Howe, Nova Scotia.
Photo credit: Sarah Jamer.

Two years ago, Christina Martin, accompanied by her husband, Dale Murray, performed live in Fredericton as part of her Wonderful Lie tour. It feels so long ago and far away, like a dream. If it were not for the signed album in my car, I would not believe that I was there that night in November. 

My signed copy of Wonderful Lie is like an artifact: a link to another time. There was an informal line-up to talk with Christina during the break. The audience talked amongst themselves in the meantime. Some refreshed their drinks, while others stepped outside for a smoke. The venue saw new faces come inside for the performance, with jackets over what seats remained. The sound of chatter and laughter grew louder and louder. And then, all attention returned to Christina and Dale. Oh, to be in a crowd again.

I struggle to keep track of time, and yet I have never been so keenly aware of time. Almost every conversation I’m in has someone say, “Well, you know, back when things were normal.” And so, I have made a collage, like you used to make from old magazines, to tell this story of an artist trying to keep the music and her mission alive after the world stops turning. While you reflect on the continued absence of live performance, I hope you also feel inspired to support local talent in whatever way is possible for you right now.

March 10, 2020 
Strasbourg, France
Facebook Live

Christina Martin:
So, a little bit of an update. Things seem to be progressing with the coronavirus where we are. We had one show cancelled, just one, in Germany. Of course, this means a loss of revenue. Our priority is that everyone is safe, so you’ve got to suck it up. It’s just money, but it’s still depressing. There might be more cancellations. It’s a day by day thing. We’re lucky that nothing else has been cancelled yet, but I did receive a concerning email that there could be more shows cancelling.

Hopefully, y’all are safe and sound. I’ve noticed that people at our shows are not shaking hands anymore. Sick people are staying home. If somebody is a close talker, I’ve been getting used to putting my hand out and showing people where they need to stand. It’s not the time to be close talking. It goes against our natural tendencies, but these are times where you don’t want to get infected or spread anything

It’s a little stressful as this tour was a big financial investment. We were hoping to pay down a lot of debt because we had a lot of shows booked. We are hoping no more shows are cancelled. Everything is on until we announce otherwise.

You guys stay safe. We’ll keep you informed.

Live at the Marquee Ballroom: Impossible to Hold
Christina Martin addressing the audience
Recorded live, September 14, 2018, at The Marquee Ballroom in Halifax, Nova Scotia

All these wonderful people on stage tonight. Thank you all for your talent, your time, and your friendship, assuming we are friends. 

These next two songs are really about us making friends with the darkness, the creative droughts, and the financial droughts. And just fucking persevering and persisting. Because when you do that in this business, you get to have wonderful nights like tonight with all of you. Thank you so much, let’s have some fun.

March 12, 2020
Facebook Live 

Things have been progressing pretty fast here and around the world. Three days ago, we did not expect that we would be cancelling shows or any part of our tour. That changed quite quickly. 

We are right now sitting in a very long queue trying to drive back to Germany from France. I have never seen this before. Usually, it’s free to drive between countries in Europe. Germany is taking precautions and stopping everybody. I hope that we can get through.

We just made the decision. I think we’re going to have to cancel the rest of this tour, including the Poland dates. I have to email everybody. I still haven’t done that yet. You’re finding out before anyone else. I think everyone is expecting that. The word is more and more things are shutting down to keep people safe. We want to support that.

We are safe, and we do feel healthy. We are just bummed out because of this decision to cancel the rest of our European tour dates. We are still planning on doing the UK tour. We’ll just have to make arrangements to fly from Canada to the UK if everything is clear at that point. It sucks, but it’s the way it is right now for a lot of people. We have a lot of friends who had to cancel their tours here. We heard that the JUNO Awards back home are cancelled.

I apologize for venues who are finding out from me on Facebook Live.

Alright, see you guys.

Excerpt from Christina Martin Talks New Album, Life on the Road, and Taking Care of Business
October 28, 2019 / Joyful Magpies

It is a sleepy morning for [Christina Martin], home after touring Newfoundland. Martin and her husband/guitarist Dale Murray are enjoying two days of rest before hitting the road again in the morning. Their Canadian tour will take them as far as British Colombia.

Last month, Martin released Wonderful Lie, the award-winning musician’s seventh album. As part of the Wonderful Lie Tour, the singer-songwriter will perform in Fredericton at The Muse Cafe, November 22. The venue is not far from where Martin grew up in the capital city.

Live at the Marquee Ballroom: Impossible to Hold
Christina Martin introducing Keep Me Calm
September 14, 2018 

This next song was inspired by my best friend, someone who has been almost unconditionally loving and supporting. There was one condition: I did have to marry the fucking guy. This song is called Keep Me Calm.

Baby keep me calm tonight
I can’t believe things turned so fast
Baby, keep me calm until I
Find my way to a pretty truce

This gets harder
With every pulse, my heart breaks
We get stronger
The taste of sweet joy when we hit the stage
Until then baby keep me calm

Baby sing our song tonight
Help me remember why I still fight
Baby pressures on, I carry
All the worries, I want to let it go

October 20, 2020
Phone Interview

When you watch a movie or TV show, do you get anxious when you see people close together?

I’m watching Parks and Rec right now. Andy will hug Chris, and it makes me think about hugging. We can’t do that anymore. Some people do, but I don’t. Will there be a time where it’ll be safe to hug again, or is hugging over? 

I saw you perform last year here in Fredericton. That was an intimate setting. Who knows when that will happen again?

I know that the venue is still having shows, and that’s great. I postponed my show there. We were supposed to do something on October 17th. It’s hard to sell tickets right now. People are tapped out from online events and worrying about contracting COVID-19. I can’t afford to cancel because of an outbreak.

I’d love to be the one who says, by next spring, this will all be over. We also said it’d be done by now, and it’s getting worse, I guess? I try staying away from the news and the COVID-19 numbers. Do you do that? I stopped because there’s nothing I can do besides what I can do to protect myself. What’s one more thing I can do to get on with life? I am going to stop reading the news about this specific thing because there’s nothing I can do. I’m sure I’ll hear about it when there’s a vaccine ready. Until then, I’m pretending that it’s everywhere.

Live at the Marquee Ballroom: Impossible to Hold
Lyrics from Keep Me Calm

Baby keep me calm
I could use your strength
Baby you’re so strong
Will you keep me calm

October 20, 2020
Phone Interview

Let’s go back to March. In a livestream from France, you announced that one of your shows had been cancelled. You were hoping to have no more shows cancelled. What was going through your mind at the time?

It feels wild right now to think about my mindset where I was at the time. It just speaks to the inexperience of ever living in a pandemic and understanding the severity of it. We were travelling with no masks, and we were doing shows.

Dale and I were asking ourselves, what if this ramps up? This is our livelihood. If this goes bust, I thought, how am I going to survive financially? This can’t happen. What can I do to keep any of this going? We were talking about staying and playing whatever shows weren’t cancelled. We were just grasping onto this idea that we could keep things going. Maybe in a week or two, this thing will blow over. It’s unbelievable that I was thinking that. We just didn’t understand the severity of it.

When the Canadian government urged Canadians to return home, I think that was it for us. I had to shut off that part of my brain that was concerned about the consequences for my business, and I put our health and safety first. That’s when I made the call. We had a few more cancellations that week, which confirmed that the pandemic was going to keep going for a while. When the decision is made for you, it’s a lot easier. 

When you got home, did you give yourself some time to deflate, or were you right back to work?

Hell, no. I hit the ground running. How am I going to pick up the pieces? I had to dig into my finances. I had to ask around about support. I had to do final reports for the tour. I was concerned about money. I still am, but it was extremely heightened at that point. Every day since then, I get up at 7 a.m, and I go to work. There might be days where I crash, but it’s been a consistent “how am I going to adapt?”

September 14, 2018: Christina Martin performing live at The Marquee Ballroom in Halifax, Nova Scotia.

January 5, 2018 
Christina Martin’s first time on Facebook Live

Am I live? I’m waiting for Dale Murray, my co-producer. He’s sitting over there. I am waiting for him to give me a heads up to let me know if this is working. We have been on Facebook Live for 26 seconds, and I am nearly paralyzed with fear. I am so excited about this. 

Later, I am going to talk about my goals, and hopes, and dreams for Facebook Live. I feel like such a dork. I feel like this is something people have been doing forever. I was scared, and I put it off. It’s like the skinny jeans thing. I was the last one to join that train, and now I’m stuck. I’m hooked on skinny jeans.

I think this will be a powerful way to connect with people.

October 20, 2020
Phone Interview

We learned quickly how dependent we would be on the internet and how shitty our bandwidth is living in rural Nova Scotia. Our upload speed hovers between 0.2 and 1.0 mbps. That’s been really hard.

I was fortunate coming into this that I was already thinking, what can we do online? I didn’t know I had so much to learn when COVID-19 hit. It’s a whole other ballgame. It’s so stressful when you try to go live, and people are complaining because there’s a delay. In a room, you can unplug your guitar and play for people. It’s not the same when you have shitty internet.

Did you ever imagine that you would be so online-oriented?

I wanted to focus on being a better onstage performer. Bells and whistles aside, I do find immense value in connecting with people around the world. It’s sort of like picking up the phone. I think that’s what has kept me going, connecting with people and seeing their responses. 

March 27, 2020
Facebook Post

I’m taking advantage of the time I have at home to work and rest and maybe build a garden once the snow melts. I am dreaming of, and looking forward to, days when we can venture outside, and work together in close proximity again. Maybe I’ll go out dancing more. I wonder how this will change things. Will it be better or worse? Will we be stronger?

October 20, 2020
Phone Interview

How’s Dale doing?

He’s doing well. He is more handsome every day. He’s helping a friend trim bud. We might have to find other jobs. Everybody else is probably having to do the same thing. Nothing you want to do, but yeah, that could happen, that we have to do something else.

This past year, have you at any point thought, well, this is the end of the road? We had a good run. It’s time to live a less complicated life.

I’m not there yet where I’m ready to give up on what I’ve built. We moved out here to create a certain kind of life. We don’t know if things will be fine next year. I’m not ready to give up on fully dedicating myself to a life as a career artist. If we can make it through a pandemic doing the work we love, then hopefully, we will be stronger and wiser.

February 28, 2021
Facebook Live

Welcome to episode 21 of Cabin Fever. It’s Sunday, February 28th. I had to check. I have to check every day what day it is. A lot of days feel the same over here, and I’m sure in your household, too. That’s why it’s important to shake things up a bit.

How has your week been, everybody? Everything is fine over here. I will admit to feeling a little blocked in my work. There’s so many things I want to be doing. I’m not complaining, but sometimes I get impatient. You can only do so much. Take things one day at a time. Enjoy the work! I’m talking myself into a better place, so thank you for listening.

March 19, 2021
Phone Interview

How is your morning going so far? 

I have been working on a Canada Council application all morning. That involves creating budgets, describing something you have not created yet, and putting value to your art and other people’s involvement.

After so many years of writing applications, has the process gotten any easier?

I think there’s some solace in knowing that you’ve done certain things before and have come out alright. But when you are trying to do something new with your work, it will feel uncomfortable, and that’s a good place to be in.

Back in October, you talked about working on a new album.

Dale and I started work on my new album in January. I had written most of the songs by last summer. We rented the Capitol Theatre in Oxford, Nova Scotia, so we could better follow pandemic safety precautions. We rented local accommodations in Cumberland County for the musicians. It was wonderful to make music with friends again.

We are in the mixing and trial-and-error stage of the new record. Simultaneously, I am trying to map out what I want to do with the artwork, live presentation, and music videos over the next year.

It’s coming together. We are excited about the music and how it’s sounding.

It has now been a year since you and Dale returned home from your European tour. What have you learned from this past year? 

We’re not really in control as much as we like to think we are. Also, we need to learn to slow down and simplify our lives. The global environmental crisis: that has been on my mind, too. We live in a world that is obsessed with making money and consuming. Let’s not forget what’s going on and how we ended up here. Otherwise, things are going to look even worse in our lifetime.

Follow Christina Martin

Bandcamp / Facebook / Patreon / YouTube

Catching Up With Amanda Martinez

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Amanda Martinez premieres her music video for Liberame (ft. Kellylee Evans) tomorrow. Her latest album Libre is available now.

“I’m excited because we just finished shooting a new music video,” Amanda Martinez says, speaking by phone from Toronto. We are in late September. Almost a year has passed since I first interviewed the singer-songwriter. In that interview, Martinez talked about her journey from knocking on doors to play in clubs around Toronto to performing sold-out shows across North America and releasing four studio albums in-between. 

Estaba Cayendo is the new single from Martinez’s latest album, Libre. For the music video, she partnered with Adrián Ramírez Juárez and Akari Fujiwara, dancers from Canada’s Ballet Jörgen, and famed choreographer Debra Brown, best known for her decades-spanning career with Cirque du Soleil. The dancers had not worked together for months, and it was her first time meeting them. “It was certainly nice to be with everybody and doing something creative.”

Another music video is in the works — actually, it premieres tomorrow. Martinez wrote Liberame with good friend Kellylee Evans, a Juno Award-winning jazz vocalist, two years ago. Martinez and Evans recorded the song together for Libre. Over email, Martinez tells me that the music video had a small crew, with everyone wearing masks when they were not performing. About the song, Martinez says:

“[Liberame] is about being imprisoned by your own fear, and the music video conveys the idea of picking yourself up again and not being afraid to reach out for support. I am really proud of the music and the friendship and experience behind it. Kellylee and I have been through a lot together, and I have been so inspired by how she has overcome so many challenges with so much grace.”

Let’s go back to March

In her March newsletter, Martinez postponed her plans to launch Libre in the United States due to the COVID-19 pandemic. The album launch would have seen Martinez perform in New York, Cleveland, and Chicago. 

“I had just finished getting my U.S. visa to travel,” Martinez says. “And then, we started hearing about how bad Covid was getting. The clubs were starting to shut down. We were waiting and waiting to hear what was going to happen. And then, I got a call from Ohio, and they said they were going to be closing until further notice, and that included my tour dates. Eventually, I was like, with everything that’s happening, I can’t see people going out.”

A flood of questions poured in for Martinez. “What are we going to do financially, and how long is this going on? What do I do with the album? Do I still launch it?” Martinez would launch her album in late October, but it would move forward without a tour. 

Like many other artists, Martinez and her husband, Drew Birston, started playing livestream concerts. I ask Martinez if her April concert for the City of Toronto’s City Hall Live Online series was the first time she performed online. “It was actually. I had never done it before…and it was nerve-wracking.” The experience was very different for Martinez, a singer with twenty years of live performance under her belt. “But it was also fun to see people’s comments on the screen as they were watching us.”

The next month, Martinez performed a Cinco de Mayo concert for another livestream series, Canada Performs. I was lucky to catch the show, which I tell Martinez was a lot of fun to watch.

“That one I got to have a little tequila before we started!”

It would be several months until Martinez performed in-person for a live audience. Her first “real concert” was an outdoor and socially distanced private event. “It felt very healing to do that, versus performing from my phone in my living room.”

In these last eight months, Martinez says she has been doing more online yoga and cooking at home. “And I’m trying to do more artwork with my kids,” she says. “For me, it’s always a struggle to get them off the screen and engaged in other activities we can do together.”

I ask Martinez about the future, specifically if these eight months have made her reconsider her music career.

“Yeah, for sure. We are supporting a family of five. I definitely am considering all my options and relooking at things. It’s tough because I know that’s where my heart is. I’ve been out of doing anything else for the last twenty years. I also do some acting. I have had some acting auditions recently. I have had some shows air, too. I guess I just try to put as much faith in the future as possible and not worry because when I think practically, it doesn’t make sense.”

The future

It is the end of October. A full year has now passed since my first interview with Martinez. She and I talk briefly over email about launching Libre in the United States. Since “everything is up in the air touring-wise,” the album launch will be all digital. Martinez is promoting the album through media interviews and her new music videos. 

“The album will be available in stores through CEN/Sony Orchard, however, I won’t be giving any CD release concerts in person,” Martinez writes. “The album launch is different with the pandemic as it doesn’t involve any touring or traveling, which is where I have the chance to really connect with my audience. I love performing live and certainly miss this big part of the process!”

I ask Martinez what the album means to her and what she hopes people will get from listening to it.

“Libre was written with many different songwriters, and I hope that people will feel that sense of openness and freedom that I felt when we were making the album. I am grateful to all of the musicians who were involved and contributed to the spirit of the music, and I hope that the listener will hear the love that it was made with.”

When I spoke with Martinez last month, I asked her what she would like to achieve in the next few months. Launching her album was one answer, and writing new music was another. She also told me that working with the dancers from Canada’s Ballet Jörgen reawakened her love for dance. She would like to engage in collaborative songwriting with dancers and try incorporating the dancers into a live show.

As I look back on our first interview, I remember something Martinez said when she talked about landing her first gig in Toronto. It stuck with me after the interview ended. I knew I had to highlight it when I published the blog post. And I think about it again now with Martinez’s album launching tomorrow.

“When I made that decision to go for it, there was no stopping me.”

Listen: Spotify / YouTube
Follow: Official Website / Facebook / Instagram / Twitter

“When I made that decision to go for it, there was no stopping me”: Interview with Singer-Songwriter Amanda Martinez

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Amanda Martinez’s latest album Libre is available now. Photo Credit: Johnny Lopera.

Amanda Martinez is a renowned singer-songwriter who has performed across Canada and on stages worldwide. She has played sold-out shows at Toronto’s Koerner Hall, New York City’s Blue Note Jazz Club, and the 2011 Pan American Games in Guadalajara. In June, Martinez released her fourth album Libre. It is hard to believe the Toronto-born artist almost pursued another path entirely.

Born to a Mexican father and South African mother, Martinez grew up household founded upon a strong work ethic. Her father came to Toronto with virtually nothing. He and his brother rode their bicycles to Canada from Mexico. The brothers had $100 to their name. Martinez’s father always told her that there are no shortcuts in life. “It’s all about working hard.”

Acting on the advice of others, Martinez shelved her dream of pursuing a music career full-time so she could follow a “more secure path.” Martinez would go on to earn a Bachelor of Science from the University of Western Ontario and a Masters in International Business from York University’s Schulich School of Business. In time, Martinez landed a job in TD Bank’s trade finance department. Music remained a hobby.

As time went on, Martinez became increasingly worried about her future. She feared growing old and looking back on her life with regret. It manifested “in a bit of a crisis.”

“I just realized that I had been going along with what everyone had told me,” she said. “I had never really given myself the chance to pursue what I had always known in my heart, that I loved music, and I loved to perform.”

At the age of thirty, Martinez left the corporate world to pursue a singing career. It was not long until she landed her first gig at Alleycatz, a jazz club in Toronto.

“I walked into this jazz club and convinced the owner to let me audition with the house band,” Martinez said. “I was very enthusiastic. When I made that decision to go for it, there was no stopping me. He said: I like your attitude, I’ll give you every Monday night. That led to me knocking on doors at clubs around Toronto.”

In the beginning, Martinez sang a lot more in English than she did in Spanish. The singer noticed that “people really responded” when she sang in Spanish.

“They could tell that was what lit me up,” said Martinez. 

When she was not performing at Sassafraz or the Rex Hotel, Martinez was busy auditioning for television. She became the host of Ontario Lottery Tonight, allowing her to give up her temp job. She landed roles in Mutant X, This is Wonderland, and Monk. Martinez also provided the voice for a character in the critically acclaimed video game Rainbow Six: Vegas.

In 2005, the singer embarked on a new chapter in her career. JAZZ.FM91 hired Martinez to host and produce Café Latino, a weekend radio program dedicated to Latin jazz from around the world. 

“I feel like that got my name out there,” she said. “People got to know me on-air, and they would come to my gigs.”

Martinez recorded her debut album Sola during her tenure as host of Café Latino. “It was always my dream to record an album.” The album released in 2006. She left Café Latino in 2008 to focus on her music career.

“I wouldn’t have had a clue that years later I would have four albums to my name,” Martinez said. “And people would still be buying tickets to come see my shows. There was always that dream, but you never where you’ll end up.”

From knocking on doors to performing sold-out concerts, Martinez’s nearly twenty-year-long career is truly remarkable. And there is still much she wants to accomplish in her career. Martinez recently filmed an episode of Private Eyes in which she plays a Mexican actress visiting Toronto. A fan of musical theatre since high school, Martinez hopes one day she can bring her love for music and acting together. “I don’t know if it’ll be something I produce myself, but I would love to use both those sides of me.”

Touring more often is another career goal for Martinez, who performed across Ontario and Quebec this fall.

“I have been doing a little bit of touring but not a lot,” said Martinez. “There are so many places I would love to visit and bring my music to. It’s always a challenge with having young children at home and with my husband [Drew Birston] touring too. I hope to continue performing outside of Canada.”

Reflecting on her days performing at Alleycatz, Martinez says she feels lucky to still feel the same excitement to get on stage as she did back then. Yes, she may have “fewer wrinkles” in pictures from those years, but none of that matters for the 48-year-old singer. Martinez is thankful for the years of life experience that she brings to her music and shares with her audience.

“As the years have gone on, I feel so much more comfortable with myself and what I’m doing,” she said. “I remember when I first started, I was curious about people’s age. Oh, that person is x years old and still doing what they’re doing and loving it. People are still enjoying their music. That brought me comfort.”

“And I remember when I was hosting Café Latino, some of my favourite albums featured these seasoned singers from Cuba. There was this character to their voices. You could hear it in their voices — their life and their experience. That brings me back when I do feel anxious.”

What advice does Martinez have for young people? Follow your gut and try not to second-guess yourself.

“A lot of momentum that I got, especially in the beginning, was through being bold and going after little ideas or opportunities that came my way,” she said. “Even the radio program, I remember thinking who am I to host a show? But then I thought you know what, who am I not to? I can learn. If you maintain that attitude of being open, a lot of doors can open for you.”

Amanda Martinez’s latest album Libre is available on iTunes, Amazon, and Spotify. 

Learn more about the artist: Official Website

Follow Amanda Martinez: Facebook / Instagram / Twitter / YouTube

Christina Martin Talks New Album, Life on the Road, and Taking Care of Business

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Christina Martin’s latest album Wonderful Lie is available now. Photo credit: Lindsay Duncan.

“I did not want to turn 40,” Christina Martin says from her home in Port Howe, Nova Scotia. We are talking on the phone. It is a sleepy morning for Martin, home after touring Newfoundland. Martin and her husband/guitarist Dale Murray are enjoying two days of rest before hitting the road again in the morning. Their Canadian tour will take them as far as British Colombia. “I didn’t want to turn 30. I don’t like the idea of aging. I think it has to do with the industry I have chosen to be in.”

Last month, Martin released Wonderful Lie, the award-winning musician’s seventh album. As part of the Wonderful Lie Tour, the singer-songwriter will perform in Fredericton at The Muse Cafe, November 22. The venue is not far from where Martin grew up in the capital city.

“Both my parents are from Saint-Léonard,” Martin says. “I was born in Florida. We moved to Harvey Station when I was about eight months. Not long after, we moved to Fredericton. I grew up in Fredericton with my parents and two brothers until we moved to Rothesay when I was around nine. I lived on University Avenue.”

Martin remembers wandering the neighborhood and catching burdocks on her clothes in the field behind her home. Behind her home, too, was the train. 

“That train went off the tracks while we were still living there,” says Martin. “Nobody was hurt. It did damage some of the homes, though, just around the corner from my house.”

In 2002, Martin released her debut album Pretty Things while living in Austin, Texas. 

“It was a soft launch,” Martin says. “I did record an album and it was available, but I had no concept of what it was to promote an album outside of the town I was living in. As an artist in Austin, I was focused on trying to be a better musician and learning the ropes. I only started thinking about how to properly launch an album independently or with the help of partners once I moved back to Canada and became a resident of Nova Scotia.”

Martin’s attitude towards her craft changed when she began learning how to develop and grow her business as an independent artist. “Before it was all oh, I don’t need to learn that or do that. I’ll just focus on writing songs.”

In her tour journal, Martin speaks openly about managing the details of her business. “We do the best we can and it’s not always glamorous,” she writes. I ask Martin about the journal entry and the work that goes on behind-the-scenes.

“I do it because I have to,” she says. “This is my business. I have to pay the bills, and I want to grow. At this point, I can’t afford to hire somebody full-time or part-time. It really is a full-time job. It could be two peoples’ full-time jobs. I’m doing a lot of it myself. It’s hard. You are trying to find time to write and to record and to tour and to also have downtime to be healthy. All I can say is I just try to do the best I can. I make mistakes. I wish I could do more.”

The work comes with Martin on the road. While Murray drives the vehicle, Martin is answering emails, working on funding reports, and taking care of booking. 

“You are always thinking ahead because you got to plan the next tour that’s like half a year, a year, even two years ahead,” says Martin. “I always feel that pressure, you know. You have to book this now because, otherwise, these venues are going to be busy. You aren’t going to have work. That’s always a fear of mine. That I’m not going to have work, and I’m not going to be able to pay my bills. I won’t be able to continue the mission, which is to build connections with the music and the messages.”

I ask Martin about life on the road and how she stays healthy. Martin says she tries to stick to a routine that includes exercise and drinking plenty of water. “If I don’t exercise, I feel really anxious and just not centered.”

Exercise has always been a major part of Martin’s life. She was an athlete in her teen years.

“If it was sports season, I wasn’t experimenting with alcohol or drugs,” Martin says. “It was when the sports season was off that I started experimenting with alcohol and drugs. Because my brother struggled with addiction, I knew that could be something that I might struggle with. That might not be good for me. I went through a couple of years, on and off, of overdoing it with alcohol. I was conscious of it because of my older brother. I was cautious because I knew the negative effect it had on his life. I was scared that would happen to me.”

In her early twenties, Martin made the decision to stop drinking alcohol. 

“That was around when I started singing,” says Martin. “I was very busy with other jobs. I learned early on that if I wanted to be a singer and manage all these jobs and my music career, I couldn’t. I had to take care of myself physically. That included staying away from drugs and alcohol. Being in the entertainment business, it’s hard to say no and to not be the life of the party. It took until my mid-thirties that I became comfortable saying I don’t drink alcohol. Or to really say no and not feel that pressure to please people.”

Martin recently celebrated her 40th birthday.

Growing up, Martin received negative messages about aging. “The message I got was in the music business if you weren’t young or a prodigy right away, you wouldn’t make it. You would never be a star.” Today, she knows there is no single definition of success. Still, the idea of growing older is something the musician struggles with.

“I suppose it’s ingrained in me that as I get older, I will no longer be useful or wanted,” Martin says. “It’s such bullshit, but it’s still there. It’s a fear. It also keeps me going and working hard. I want to do more. I want to do more in my career and be better.”

And that is why Martin strives to live a healthy, positive lifestyle.

“I would like to be a role model as someone who is aging and kicking ass at what they do,” says Martin. “And breaking negative cycles. Those are important things to me.”

Our conversation turns to the new album and its release.

For Martin, a lot of the details involved in releasing an album are “a pain in the ass.” The details, she explains, take time away from creating more work. Where the magic lies for Martin is in the writing and dreaming of the concepts, as well as the collaborations along the way. “I get excited when I know I can get on that journey again to write and record.”

Wonderful Lie opens with Martin covering ABBA’s “The Winner Takes It All.” I ask Martin how she decided on recording the song for the album.

“Growing up, I loved ABBA’s music,” Martin says. “I started going through the material, and I landed on this one. It’s the one that stands out to me as a really beautiful song. I picked up my acoustic guitar and tried finding the right key for my voice. It felt good. It felt right to sing it.”

Before our conversation comes to an end, I ask Martin about her Patreon page.

Patreon is a subscription service where fans can help fund artists and creators. The membership platform offers exclusive content for patrons. Martin tells me that initially, she was hesitant to start an account with Patreon. “Who am I to ask for money? People are going to think I’m begging them.” What changed Martin’s mind was when she realized that in order to sustain her career, she was going to need to ask for help.

“I felt the pressure financially that I needed to change something,” says Martin. “I love touring but, you know, sometimes it kicks you in the ass. Like if you get sick on the road. I have been scared many times where I didn’t know if I could keep touring.”

Knowing, too, that historically, artists have relied on patron support also motivated Martin to sign up with Patreon. “I think it’s really no different today.”

Among the perks Martin offers to her subscribers is a tree planted in their name. Martin plants the tree on her property in Port Howe and sends the subscriber a yearly update about their tree. She calls the initiative her Plantreeon Family.

Christina Martin will perform in Fredericton at The Muse Cafe, November 22. Tickets can be purchased here.

For more tour dates, visit Christina Martin’s official website.

Follow Christina Martin: Bandcamp / Facebook / Twitter / Instagram

Interview: Sound Designer and Composer Deanna Choi

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Deanna Choi takes time from her busy schedule to speak with Joyful Magpies about sound design and composition.

Choi is a sound designer, composer, and violinist based in Toronto. Theatre Calgary, Theatre Passe Muraille, the Stratford Festival, and Theatre New Brunswick are just some of the companies Choi has worked for in the past. Choi’s credits with TNB include Fortune of Wolves (2017) and The Lion, The Witch, and The Wardrobe (2018).

Choi holds a Bachelor of Science (Honours) in behavioral neuroscience from Queen’s University, as well as a theatre minor.

What is the difference between sound design and composition?

I think it’s almost a symbiotic relationship. Sometimes it feels like composition is like architecture whereas sound design is more like interior design and ergonomics where you take that concept, that framework, and all these blueprints for the sonic environment and you have to adapt it to the world of the play.

For me, composition involves — yes, it’s writing the music and the score, but it’s also taking into consideration the genre and instrumentation. If there’s lyrics in the show, how do you write music that suits the lyrics? It’s world development.

With sound design, you really have to make it specific to the play and the production. What kind of venue are you performing in? Are the actors mic’d? Where is your sound system relative to the audience? And how do you optimize all of these internal features in order to deliver the kind of experience the composer wanted?

Sound design is not something you see on stage. Do you think audiences appreciate sound design, or does it tend to be overlooked?

I have a lot of conflicting thoughts on this.

On the one hand, I had a mentor who once said if they don’t mention the sound in a review, then it’s a good thing — because it was integrated so seamlessly. But then, there are other times where the music or sound plays a very prominent role.

I think part of the problem is that we don’t have a big vocabulary, especially in the English language, in which to describe sound. Most of the time, if my design is ever mentioned in a review, it’s referred to as atmospheric. But what does that even mean? We use words that are visual or tactile to describe sound, like bright or soft or muted or warm. You can describe a pitch as high or low and the volume of a sound as loud or quiet. But I think because we don’t have words to describe it, it’s hard for people to remember.

Sound doesn’t show up in production photos, so you can’t really refer back to it. Sound is temporally based. You can’t get a snapshot of a sound. You have to experience it over the course of a second or ten seconds or fifteen minutes to get the full impact of it. I think that makes it hard for people to review and talk about, because you have to describe your experience and how, if the design was executed well, it changed over the course of a play.

In the case of sound design in a musical, a successful sound design is one where the story comes across very clearly. You can hear every word the actors are saying, and the balance with the band is good. If it’s done well, then you would never really think of it, because it allowed everything else in the story to come through.

In your Tedx Talk at Queen’s University, you speak about the effect of music on the brain’s chemistry during group music making. What happens when an audience listens to music during a theatre production?

It’s been a few years since I’ve been involved in research, but what I may venture to presume is that there are similar effects happening albeit differently.

I focus more on the sensory perception and memory pathways in terms of design. Let’s say I’m trying to build up tension in a scene. A common thing sound designers will do is play a low frequency sound and build that up. We have a more primal, primordial reaction association with low frequency tones. That’s a really quick shortcut into the brain’s neural circuitry that indicates oh, something scary is going to happen.

With memory, it comes to things like a type of thematic motif associated with a particular character that keeps repeating over the course of the play. They say audiences need to hear something three times before they recognize it. By the third or fourth time, they are primed by music, or by their sensory perception, and then that can become a conditioned cue.

There is overlap with the lighting world because we are used to observing phenomenon in the real world as a visual paired with an audio cue. If a book drops, you hear the sound of the book hitting the floor, but you also see the book falling off the shelf. Or if there’s an explosion, you see the flash, and you hear the sound. In theatre, if these visual and audio cues aren’t timed well together, then it pulls us out of that moment because that’s how our brains are wired. That’s how we have learned to perceive the world.

It seems that this knowledge about music and its effect on the brain is advantageous to your work. Would you say that’s true?

I guess so. Most of the time, it’s not something that I am consciously doing. Certainly, there are these principles of psychology and behavioural neuroscience that affect the way I conceptualize sound.

For me, the biggest difference between sound design in theatre, compared to other mediums like film and television, is how sound operates with regards to physics and psychology. In theatre, you have control over the space (the physics), and how the sound waves are travelling to your audience. The psychology of it: the actors can hear the sound just as well as the audience. You have to factor that into account in terms of how you create and program and structure the design.

Your work for theatre and dance tends to be collaborative, is that right?

It’s pretty much always collaborative.

How do you navigate the needs of the director and your own artistic vision?

Collaborative is sort of the main way I like to work because I don’t ever write music for myself. I find it actually quite challenging. I could never be a singer-songwriter because I can’t just sit down and think of something I want to write music about. I need a story which is why theatre, film, and dance are great because generally someone else has come up with a story first or we create a story together. The story inspires the music and the creation of it.

What is your cultural background?

I was born in Canada. My parents are immigrants from South Korea.

When we talk about diversity in theatre, we often talk about staging more playwrights of colour and playwrights from marginalized communities. New perspectives bring new stories and new ways of shaping roles. In what ways do you think your upbringing has influenced your approach to creating sound and music?

Unfortunately, I think the answer is it’s influenced me very little because all my musical training growing up was in the Western European classical tradition.

With regards to diversity in theatre, I think the biggest learning curve for me and what I’ve been trying to incorporate into my practice has been working in collaboration with Indigenous artists. So, there have been a number of times where I have been working with an Indigenous playwright, director, or group of actors as a sound designer/composer. There are moments prescribed in the play where there has to be a song. Unfortunately, I don’t have any training with Indigenous elders from any nation on Turtle Island. In cases like these, what I have done is be more of a music facilitator, so allowing individuals in the group who have songs from their background, histories, traditions and have their permission to use them. The group jams on them through a live improvisation in rehearsal to create new material. I record this on my phone, or with a microphone, and then take it home to transcribe. And then, I pick apart different sections to craft into a more structured piece of music that then becomes part of a soundscape.

There have been other times where they have hired an Indigenous composer to write the music for a show, and then I incorporate it as a sound designer.

I think this is an okay intermediate step until we are able to train and hire more Indigenous composers and sound designers in theatre. It’s sort of a middle ground that I’ve found in terms of avoiding cultural appropriation and exploitation. Can I find an expert in this style who can either teach me basic things or I can record and use their work with their permission? I follow this approach when I am asked to use music from another culture that I am not familiar with, or I don’t have any training with.

What are you currently working on? What’s coming up in terms of projects?

Right now, I’m in Niagara-on-the-Lake [Shaw Festival] composing and sound designing the next installment of their Narnia series. It’s called The Horse and His Boy [runs April 6 – July 21], adapted by Anna Chatterton and directed by Christine Brubaker. 

Next for design, I’m doing the lemonTree/Buddies in Bad Times/Why Not Theatre co-production of Lilies [May 4 – 26]. I’m also doing August: Osage County at Soulpepper [May 18 – June 23]. That’s what my design docket looks like.

This summer, I’m going to take time off and pursue some personal projects, of which I haven’t decided what they are going to be yet. Maybe I’ll delve back into the intersection of neuroscience and music and theatre. It would be nice to get back into that. It’s sorta been on the backburner.

Is there a specific topic you would like to research?

There are so many. There are a lot of labs out there exploring what our brains do while we are creative or improvising. A lot of labs looking at the health impact of music.

It’s hard to say.

A few years ago, I would have said I want to research the benefits of performance, and why is it important for us to advocate policies that encourage arts funding or arts education. Now, looking at the political climate, I don’t even know if research is going to help because no one is listening to scientists anymore! It’s a little discouraging, but I still think there’s still room for hope and to keep fighting the good fight.

To learn more about Deanna Choi, visit: http://www.deannahchoi.com/

Laila Biali on Her JUNO Win, Learning from Failure, and New Album

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Laila Biali is an award-winning jazz pianist and singer-songwriter. She is also the host
of Saturday Night Jazz, a weekly program on CBC Music that features jazz music from Canada and around the world.

In 2018, Biali reintroduced herself with a self-titled album that saw the Toronto musician bring together jazz and pop. The album won Vocal Jazz Album of the Year at the 2019 JUNO Awards.

Let’s go back a few months. Your self-titled album receives the JUNO nomination for Vocal Jazz Album of the Year. What is going through your mind?

Shock. Because I live in-between the worlds of jazz and other genres, I really didn’t expect to get a nomination at all. I have only submitted an album once. It didn’t get nominated, but it was the last record that I put out called House of Many Rooms [released under Laila Biali & The Radiance Project], which was a total departure from jazz. You don’t want to get your hopes up. You want to focus on the reason why you make music in the first place which is not necessarily to get a JUNO or to receive a nomination.

Of course, I was also thrilled because it felt like affirmation of this direction I have been going in which blends jazz with other genres.

While preparing for this interview, I found an interview with you from 2005. How do you think 24-year-old Laila would have reacted to your JUNO win?

Oh my gosh. You know what? I think 24-year-old Laila would have expected it more than 38-year-old Laila. I was more optimistic and, to some degree, not more confident…a part of me was seeking my sound, which I think I have settled into more authentically now than ever.

Back then, I was a little less beat up, just by virtue of years on the planet. I hadn’t weathered the ups and downs that come with being in the music business. I would have been like yeah, man, I could get a JUNO.

You were already making waves. You won the CBC Galaxie Prize at the National Jazz Awards in 2003, and then two years later you won SOCAN Keyboardist of The Year and Composer of the Year.

Yeah! It felt like the world and the industry, and what we might have called gatekeepers back then, were more on board with who I was at that time. And then I went through this spell of 10 plus years of searching. During that time, I started to question — Is what I do viable? Who am I? I love jazz so much, but I really love pop and mainstream music. Is there a way to combine those worlds? Or am I always going to be too pop for jazz and too jazz for pop?

But we are now in an era where artists like Esperanza Spalding are all over the map. Jazz has claimed Snarky Puppy and yet the Grammys they’ve won have been in different categories, like contemporary instrumental. Jazz really embraces them as a fusion group because those guys all come from and respect jazz. It is an integral part of their sound, even if it’s not jazz as many people would conceive of it. I feel like I’m in this neat creative time where the idea of what jazz is, is becoming more expansive and allowing more room for play and crossing over.

I want to go back to the 10 year period you just mentioned. It seems like it was a difficult time for you. What is your relationship with failure, and what lessons have you learned from it?

It’s a real cliche, but it’s a cliche for a reason. You know how they say the journey is as important as the destination? In a way, that is completely my motto, musically speaking. Anybody who’s gone backpacking or travelled knows there are always ups and downs. Challenges. Missed flights. Illness. Maybe the destination you get to isn’t even the destination you expected. You have to allow for that as part of the process and embrace that for what it is knowing that it is, I think, as important as the destination.

You also can’t let it define you. The process is not the destination. They are not to be confused. When somebody writes a really critical article, or you put out a song that doesn’t do well, that can be a teaching moment. There might be some good you can take from that. You can allow it to shape you and inform steps forward. Or, if you disagree with it, then hopefully it enables you to focus all the more on the places where you think the truth lies for you.

Failure is a refining part of the process. It’s like when people talk about the crucible. When you want to refine gold, you put a flame to it. If you think about the equivalent for us as people, it’s like “Aah! That hurts! That is not comfortable.” But you come out a little more focused, a little more purified, and hopefully a little more you.

You mentioned that sometimes a song doesn’t get as much love as you would have liked. Is there a song or project that you wish had picked up more attention?

Yeah, House of Many Rooms. We got so much love from this whole other community of younger listeners and the college radio crowd, kind of the indie-alternative world. But because I was known as a jazz musician, very few within the jazz community really embraced that project. They were like, what is she doing? That kind of hurt, because that was like my music family. And so, I felt like a woman divided. I really had hoped that I could still be Laila Biali the jazz musician, or the contemporary jazz musician, and then have this other project that would signify to people that it was a different approach but equally me.

I remember reading an article in Rolling Stone about Taylor Swift and her transition from country to pop. Even though she is wildly famous, that was actually a very difficult transition for her. She kind of wanted to be in both worlds, but she went through this period where she was getting rejected by both. She said, and this is a loose quote, you can’t chase two rabbits. The genres representing the rabbits. I was like, oh, maybe I’m chasing two rabbits. That was when I was like: what happens if we try to combine these worlds? That’s what I felt like I did on the self-titled record which is why we made it self-titled. It felt like it brought these two formerly disparate aspects of my artistic self together.

It seems that these days, there are a lot of things competing for people’s attention: Netflix, YouTube, podcasts. Where do you think jazz music falls in the mix? Do you think Canada’s jazz scene receives enough attention?

I think we are lucky in Canada to have grants bodies like Canada Council for the Arts, all the provincial arts councils, and then also SOCAN Foundation and FACTOR. They are getting behind all the genres, including jazz. Jazz musicians are able to pursue their art without packaging it in a way that gives it its best chance of commercial success. So, you are getting a lot of music in our country that is distinctive and has managed to reach more listeners because of the grant support and being able to hire publicists. It gives album releases the campaigns they deserve in terms of marketing, radio, and publicity. I think that’s kept our scene more diverse.

In terms of the general public, I actually think audiences are increasingly open to different styles and the blurring of the boundaries between different genres. I do think the appetite for longer form music has decreased to some degree, but then at the same time, we are engaging with music a lot of the time as the soundtrack to our lives. In that sense, and especially with Spotify, it doesn’t matter if a track is seven or ten minutes long and is less radio friendly. People will have access to it anyway. And if they really enjoy what they are hearing, then they are going into incorporate into their day, even if it’s just as background.

Since 2017, you have been the host of Saturday Night Jazz on CBC Music. Has the program changed the way you listen to and appreciate jazz?

Yes! Other than the fourth hour which is intentionally a little more experimental, I am reminded of what makes jazz, jazz in terms of its traditional roots. There is a real sense of the tradition and the roots of the tradition. It’s good for me to be reminded of them because sometimes an artist like myself is at the risk of breaking away from those roots altogether. 

My producer Lauren chooses all the music. A lot of the times she chooses songs I wouldn’t choose myself. And so, it stretches me which is healthy!

What keeps you grounded when life gets too stressful?

My family. They are my northern stars. They are the constant. And my faith. People have come at life from many different faith perspectives. I was raised in the church and then moved away from the church in my late teens and early twenties. I came back to it with a different and more broadened worldview, but it still provides a real sense of anchoring and where I want to go as a human on this planet with one life. Those two things are very centring. Faith, family, and friends — if you want to go with alliteration!

How do you organize and schedule your day?

My husband is a freelance musician. We are constantly colliding and trying to manage co-parenting and everything else. We routinely have a morning meeting, because we don’t have day jobs. One of us, or both of us, will drop off our son at school and we will come back home for tea/breakfast. We will sit together and talk about the day, sometimes the week, sometimes the month, or sometimes the next few months. We lay out what we can. We might say a prayer together to get our hearts focused in the right direction. And then, we dive into the work, but also try to be flexible when things arise, which they often do.

We don’t lock into our schedule obsessively, but in a time like this season where I have a pretty tight deadline to come up with a new record, we have to map things out and stick to those commitments as much as we can.

Can we talk about the new album? Going into this new album must feel pretty good with a JUNO under your belt.

It’s also terrifying, because I’m like, aah!

What do you want to achieve with this album?

It sounds so cheesy and so basic but be myself without judging so much. I think the thing that’s my undoing now and in some ways more than ever in light of the JUNO is: are people going to like this? Is this jazz enough? I won a jazz vocal JUNO, so now I have to be a jazz musician — that thing is creeping back in. Instead of allowing the songs to dictate the direction we go in. My husband, who is co-producing the album and co-produced the last one, always reminds me of the importance of that.

Once you have birthed these songs into the world, they no longer belong to you. They belong to everybody who listens and for whom they take on meaning. You have to let that be what it may be. That’s the beauty of being an artist. For me, the goal is to express and then connect. That’s what I’m hoping to accomplish on this one.

Laila Biali will be playing Saturday, May 25 at the CBC Music Festival in Toronto. The festival will feature performances from Alvvays, Coeur de pirate, Peach Pit, and many more!

She will tour across Canada starting next month. For more information, visit: https://lailabiali.com/

 

JUNO Nominee Alison Young on So Here We Are and Learning to Let Go of Perfection

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Alison Young, saxophonist.

Alison Young’s So Here We Are is up for Jazz Album of the Year: Solo at the 2019 JUNO Awards. Photo Credit: Lisa MacIntosh Photography.

In January, saxophonist Alison Young earned a JUNO nomination for her debut album So Here We Are. The album is up for Jazz Album of the Year: Solo at the 2019 JUNO Awards. The Toronto-based jazz artist remembers feeling shocked when the news broke.

“Initially I thought, that’s got to be a mistake,” Young said. “It’s my first album, and that it got nominated is a big deal for me. The recognition is so meaningful to me. It feels really important to be acknowledged like that.”

“You never know if you are going in the right direction or if people like what you are doing. You feel heard.”

The Ottawa native has been active in Toronto’s jazz scene since the early 2000s. She studied music at the University of Toronto, and since then has toured across North America, Europe, and South America.

Young describes So Here We Are as a “musical hello” and an amalgamation of all the music she likes to play.

“I’ve been wanting to put out an album for years,” Young said. “I’ve been trying to talk myself into it for five or six years. It’s easy to get distracted from my own projects.”

Movement on the album began when recording engineer Jeremy Darby of Canterbury Music Company offered Young studio time.

“The way it happened was Jeremy Darby gives away a day of free recording time to people he thinks deserves it, “ Young said. “It was a real push, him awarding that to me. That really forced me to get the band together and actually lay it down.”

“I felt like I wasn’t ready. I felt stressed out. It was hard to make decisions about how the songs should be presented,” Young said about recording the album. “By the time we did the second session, it was a lot more fun and cool and not as stressful.”

Young recorded the album with her band the Alison Young Quintet. The band has played together since 2012. “We are all friends and have played together in various bands and also as a band. It’s a good hang. It’s good musical chemistry there.”

Young has learned many things over the years as a jazz artist, but perhaps the most important lesson she has learned is to let go of perfection.

“I actually quit playing after going to university, because I over thought everything so much. I thought I needed to make music more complicated than it needed to be.”

“You just have to start. You’re always going to learn as you go. Let go of the idea of ever attaining any kind of perfection,” Young said. “The more you know, the more you don’t know. Be okay with it always having to be a learning process. That’s the thing about music, it’s really beautiful and daunting, but you never get there.”

What’s next for Young after the JUNO Awards? In June, Young is going on the road with Corey Hart, the latest inductee into the Canadian Music Hall of Fame. After the tour, Young says she hopes to play music festivals with her band.

The 2019 JUNO Awards will be live from Budweiser Gardens in London, ON on Sunday, March 17 at 8 PM ET and broadcast live on CBC, CBC Radio One, CBC Music, the free CBC Gem streaming service, and globally at cbcmusic.ca/junos.

Learn more about Alison Young at alisonyoungmusic.com

Follow Alison on Facebook and Instagram.

 

Dr. Wendy Freeman Talks Conducting and Building Trust with the Ensemble

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In her senior year of high school, in Grandville, Michigan, Dr. Wendy Freeman auditioned for the position of drum major. She won the position and enjoyed a successful year with the band, which performed all across the state of Michigan. While Freeman had always loved music, practicing flute from an early age and singing in the church choir, it was this leadership opportunity that sparked her interest in music as a conductor.

“I actually thought I was going to be an architectural engineer,” says Freeman, speaking on the phone from Westmount Charter School in Calgary. “After I realized how much I enjoyed being at the helm of the music, that sort of took over my scholarship applications and my dreams.”

Today, Freeman is the music director at Westmount, where she conducts students from grades 5 to 12. She is also an adjunct professor for the Werklund School of Education at the University of Calgary. (Freeman received a Master of Music in Conducting Performance from U of C.)

“I teach the undergraduate education students interdisciplinary learning,” says Freeman about her duties at the Werklund School. “I’m a field instructor, so I’ll watch the student teachers teach and give feedback on their lessons.”

And at the U of C’s School of Creative and Performing Arts, Freeman helps with the Music Education courses.

“I’m a pretty busy gal.”

“I decided early on that I didn’t want to just be a tenure track professor,” Freeman says. “I wanted to have a farther reach. Part of that for me is seeing young people grow their technical capacity and being able to influence future teachers.”

When I ask about the work that takes place before rehearsal, Freeman tells me there are two essential things that happen: “picking repertoire that suits the ensemble well” and rigorous score study.

“Before you can get on the podium and lead a group, you have to be able to sing every possible part,” Freeman says. “You have to know the music inside and out, and you have to have a vision for how you want it to go.”

Score study is important for building trust between the conductor and ensemble.

Respect is earned, says Freeman, when it is clear that a conductor has studied the score and they can deliver feedback that helps make the music sound better.

“I think in adults, anyway, it garners a certain amount of respect.”

With younger people, it’s more about “communicating effectively.” When a change is made, Freeman helps her ensemble to listen to the sound result. “We always refer back to, do we like that better? And if so, why?”

But building trust can also happen outside of rehearsal. “I try to know as much as I can about my musicians and who they are as people. I think it’s about caring for the whole person.”

“And when they do trust you and you have a journey in a concert that goes well, there’s also that sense of shared joy. If you can get to a place of shared joy, I think that’s really important.”

“And also [shared] disappointment. It’s how we handle the challenges that teaches others who we really are as people. You could be a crazy conductor with horrible stick technique, but if you are a lovely person who cares about the people in your ensemble and you can show empathy and you can be a kind person off the podium I think that goes a long way for adults and children.”

What advice does Freeman have for young conductors?

“Breathing with the musicians,” says Freeman about conducting orchestral and/or wind band musicians. “That’s really key for young conductors to remember, that they want to take the same breath with the musicians to start each phrase, to start each piece or to start each new entrance as they would use to play their own instrument.”

“If you breathe with the musicians, they will breathe with you. You will get a much more beautiful attack or start to the phrases. That’s something that young conductors often forget, to breathe with the musicians. It’s weird, because we don’t actually play. The baton isn’t making the music. We have to remember to breathe, because when we breathe with them they also take a nice breath.”

And practice self-assessment: “In my master’s journey, I videotaped every rehearsal.” Later, Freeman would go back and think about what gestures were helpful (or not) for musicians. She also considered the effectiveness of what was said to members of the ensemble.

Freeman also recommends watching videos of the great conductors and “going to a lot of symposia over the summertime.”

What does Freeman find rewarding about music?

“What I love about music is that it breeds a feeling of community and belonging. Whether you are in an orchestra or a wind band or a school band, you belong to something greater than yourself.”

“We always hope that the end performance will be the best time that we’ve ever run the work and we often do find that it is. To me, the hard work, the best work, and the most rewarding work is done in your eight rehearsals that led up to the concert. That’s where the team really grows.”

That brings Freeman to her last piece of advice for conductors.

“When you take a bow at the end of the concert, you are also doing that on behalf of the players that made the music. After the concert, I think it’s really important, no matter what age level, to say thank you.”

The Calgary Wind Symphony will be presenting Starry, Starry Night on Sunday, December 16th at 2:30PM. The concert will be held at the Eckhardt-Gramatte Hall (Rozsa Centre, University of Calgary). 

About Starry, Starry Night: “A collection of music to highlight the best parts of a Canadian winter, including the endless night sky.”

Dr. Wendy Freeman, an associate musical director with the CWS, will be conducting part of the concert.

Tickets are $20 (12 & under free) and can be purchased online.